Mute Music In Silent Song

In August 1988, I had been cleaning out a room in my house where furniture and miscellaneous items were stored. It was during this time that I discovered an old, unused canvas that I had bought many years ago from an artist-friend, long deceased. It was a Saturday afternoon, and mainly to get away from having to make decisions on what I was going to keep and throw away, I decided that I would begin a painting. I am a very, very amateur painter, and a bad one, at that. I gathered paint, brushes and canvas and proceeded to a shed behind the house that had been used as a shelter for two of my largest dogs. I had no idea of what I was going to sketch as I painted the background white. As I stood there, with brush in hand, "something" caused my hand to begin painting on the wet background. I was puzzled because I don't begin painting until the background is completely dry and that takes several days when oil paint is used. My hand was moving fast--fast--faster and faster, and I was visually having difficulty keeping up with the speed of the brush. I felt that I was only an onlooker and had no doubt that it was not I who was forming this picture, whatever it was. And what was it, anyway? The outline of the painting had been formed, and now my hand moved without any effort, as if guided by some force. The picture was being filled in now, my hand moving with the speed of a swordsman. "A Study in Scarlet?" Sir Arthur Doyle? What? The outline of three strange birds was rapidly appearing on the canvas. The painting was completed in less than an hour. During the painting, the idea for this book formed in my mind. For those of you who will say, or would have said,. "Well, he must have been reading stories written by Arthur Conan Doyle and had that on his mind-Not so! Wrong. I had not read anything by A. Conan Doyle in many years. And all that I knew about Sir Doyle was that he was the author of Sherlock Holmes stories and had lived in England. But what about the three birds? Did they have any significance? Could they represent Doyle--i.e., Holmes, Watson, and Professor Moriarity? Maybe. I really don't know. What I do know is that I don't paint birds. Was this an "automatic painting?" Did some spirit finally complete an unfinished work - interrupted by an unexpected demise? Could the incident be duplicated if I took an old canvas, paint and brush again to the shed in the back of the house on an August day in 2088? That would be 200 years since the first Ripper murder. But wait! I wouldn't be around then, and neither would you. Oh, well, who knows, maybe I will come back just to complete my own painting--but it won't be of birds, I assure you. I hope that you enjoy the book. I have a way of knowing.

This study examines the ironic influence of Friedrich Schlegel and Arthur Schopenhauer's ideas of music's primacy among the arts on three of the most important modern writers of German: Hermann Broch, Thomas Mann and Franz Kafka.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

No city but Florence contains such an intense concentration of art produced in such a short span of time. The sheer number and proximity of works of painting, sculpture, and architecture in Florence can be so overwhelming that Florentine hospitals treat hundreds of visitors each year for symptoms brought on by trying to see them all, an illness famously identified with the French author Stendhal. While most guidebooks offer only brief descriptions of a large number of works, with little discussion of the historical background, Judith Testa gives a fresh perspective on the rich and brilliant art of the Florentine Renaissance in An Art Lover's Guide to Florence. Concentrating on a number of the greatest works, by such masters as Botticelli and Michelangelo, Testa explains each piece in terms of what it meant to the people who produced it and for whom they made it, deftly treating the complex interplay of politics, sex, and religion that were involved in the creation of those works. With Testa as a guide, armchair travelers and tourists alike will delight in the fascinating world of Florentine art and history.

The Silent Song displays a collection of poems where the author is showing another step, another level in his quest toward reaching spiritual growth and maturity. In that sense, it can be considered as a complement to what has started in the authors previously published poetry book, Gemstone. The author uses his skills in poetry to depict a rich spiritual life where despite the tests and trials of life, one can keep his composure, tame his spirit and maintain an inner peace. Ones life always speaks louder than just his words. A silent preacher living a righteous and holy life can say more by his actions than an eloquent one that relies mainly on his words to influence people around him. Someone once said, Id rather see a sermon than hear one. In this regard, may The Silent Song be an inspiration to you all. Other publications by Dr. Jol Hilaire include: On the Other Side of the Desk (2005), based on a true story Fantaisie de ma Jeunesse (2011 French poetry) Ye Are the Body of Christ (2017), a medico-theological book Gemstone (2018), poetry

Lex Perry had it all. Fame. Fortune. A once-in-ten-lifetimes love with a brilliant, beautiful, battle-scarred goddess. And an addiction that was done sharing his attention. He survived. His fall from grace never stopped fans from throwing money and panties at him. All he lost for his weakness was the heart Gin—the woman, not the booze—took with her when she left.